Interview #22 Studio Eidola
Please introduce yourself:
We are a Zürich-based interdisciplinary research and design studio, which was co-founded in 2020 by us, Denizay Apusoglu, an industrial designer, and Jonas Kissling, an architect. We focus on investigating raw materials on-site and exploring their transformative narratives.
Ocean Articulated, @ Studio Eidola
#1 How did you come together and what characterizes your studio?
We met through the architecture department in ETH Zürich, while one of us was working there and the other was studying. We were part of the same seminar weeks workshop, where we were building an Isler shell. We happened to be neighbours, we still are, and over time we discovered that we have the same deep interest on experimenting with raw materials, processes of geomorphology and working with our hands. From there it evolved naturally by doing field trips accompanied by long conversations.
One of the main characteristics of our studio is our obsessive curiosity about metamorphosis of materials, predominantly minerals. It's not merely about the transformation itself but the web of interrelations and processes that accompany the entire cycle of material change. We are interested in the narrative that each material embodies as it transitions through stages of alteration, influenced by both us humans and the forces of nature.
#2 How do you acquire your projects and what drives you in terms of your work?
Our work primarily originates from self-initiated projects, from our deep fascinations with the crust of the earth. These fascinations often emerge from moments of interaction with the landscape, either natural or artificial, be it in front of a 40 m extraction wall of a quarry where you can see the layers of sediment accumulation over millions of years, or a dried river tributary resembling a stone desert.
Ocean Articulated, @ Studio Eidola
Until now, we have frequently been guided by a series of coincidences. For instance, during a hike, we came across to an encircled pool filled with clay-like substance, its surface patterned by the imprint of raindrops. In another instance, while collecting sand, we discovered a different material which was at the same site. There have also been research trips where the outcome diverged entirely from our initial expectations, rather pleasantly, and the whole experience was enriched by the unexpected discoveries. These "coincidences" are not only incidental but are fundamental to our creative process, they guide us through a spontaneous and intuitive exploration of materiality and landscape.
#3 In your project “Liminal Sediments” you explore the state of being in-between, which is interesting because nowadays the focus usually lies on the end product. What interests you about this state of being in-between?
Liminal Sediments, @ Studio Eidola
The state of being in-between embodies the very essence of potentiality and transformation. It illuminates how the same starting point can diverge into diverse material manifestations. It holds multiplicity of possibilities, a sort of alchemy in the making where the outcome is not fixed but fluid and ever-evolving. We believe that the in-between stages represent reality more accurately, as they involve a great deal of uncertainty and ambiguity. Rather than viewing uncertainty as a hindrance, we see it as an opportunity to explore the unknown and to learn from the possibilities it presents.
#4 Your material research is very profound, in the sense that it has a strong local connection and deals with both the material itself and sustainable fabrication methods. Is your approach to research always the same or does the process vary from project to project?
We work site-specifically, and acquire materials directly from the existing extraction sites. Observation, field trips and direct engagement with the landscape are the usual starting points for us. On-site, we collect material samples, visually document the surroundings, interview the owners of these quarries, and return to our studio to delve into a reflective study and further research into the site's geology.
Ocean Articulated, @ Studio Eidola
Following this, our process shifts towards experimentation, deliberately setting aside existing references to allow for fresh interpretations and new approaches. While our initial methodology repeats for each project, the later stages might differ depending on the unique context and our ongoing discussions. Our aim isn't merely sustainability for its own sake; rather, we prioritise sensitivity and a grounded connection with our environment. We value locality and material relationships, and aim to create a dialogue with the public to generate a holistic awareness of their surroundings.
#5 Your material experiments are often demonstrated through sculptural objects. What is the reasoning behind this type of presentation?
Ocean Articulated, @ Studio Eidola
For us, objects serve as tangible manifestations of our engagement with materials and the landscape, and creating them has been the most direct way to comprehend the materiality of a site. They are literally the objects of exploration, and through them, we deepen our understanding of the materials we interact with. Each object represents a part of our collective memory, encapsulating a specific series of events in time and space.
#6 What are you currently working on and what are your next steps?
Currently, we are working on a project we initiated around 1.5 years ago, which was temporarily set aside. This project mainly focuses on the utilisation and transformation of stone waste. At the same time, we are exploring ways to scale up our previously published projects while also planning our activities for the upcoming year.
#7 How does your environment influence your work?
Studio Eidola Atelier 2022, © Studio Eidola
The spaces we inhabit are like miniature worlds of our interests and experiences. For instance, our studio space is where we collect materials, ideas, books, memories, and where we create our work. This space of collection is a dynamic and growing source of knowledge and experience that becomes an important part of our creative process.
#8 Three things that inspire you at the moment:
Caves of gypsum crystals. Especially, Geoda de Pulpí in South of Spain and Cueva de los cristales in Mexico.
The concept of light, as an entity, energy, stimulator, reflection, metaphor and so on…
Neijing Tu diagram, which is a Daoist “inner landscape” diagram of the human body.
#9 What do you currently read, watch, listen to?
Denizay: I am currently reading “Learning from the earth” and “Enfleshed ecologies of entities and beings”. Both are collection of essays from various authors. I have been recently listening to “Björk: Sonic Symbolism” which is a podcast series where she talks about her creative process for each of her albums. And therefore been listening to Björk albums recently. Last movie I watched was “The wind will carry us” by Abbas Kiarostami.
Jonas: I am currently reading “The living mountain” by Nan Shepherd and “Der Wert der Oberfläche” by Philipp Ursprung. I have been listening to Kraftwerk recently and watched “Dead man” by Jim Jarmusch.
Photo Credits: © Studio Eidola, Interview Caroline Steffen